A sort of St.Ives room, with Heron, John Wells, Barnes-Graham, a nice John Tunnard (actually, he was elsewhere) and a great Ben Nicholson (see below);

There’s also a Ben panto horse in brown fields and some nice Winifred portraits;

Bomberg, two Rondas I think, and a corner of his disciples, Dorothy Mead, Crenfield etc.;

Then there’s a bunch of self-portraits by various, the most striking of which were by William Gear, the lines of which resembled burnt briars or maybe barbed wire (fascinating to learn he was connected to CoBrA) and the one below by Peter Coker, with a black outline on a narrow canvas in a corner;

A room of Kitaj, of whom more later.

Then there is the main gallery, with some lovely big pictures – Michael Andrews dark coastal painting with figures; a Bacon, two figures who look to be wrestling..possibly..; a great Keith Vaughan; a Colin Self pop art group with one of those women with bright lipstick – bit like Pauline Boty, I thought – and a Peter Blake with an uncharacteristically(?) rough, blurry finish, very effective. A couple of paintings of domestic scenes by Victor Willing, Paula Rego’s late husband, which have that distorted, slightly monstrous quality of her work.

Finally, there’s Spain; a special exhibition relating to the British role in the International Brigade during the Spanish Civil War. Great photo of the poet John Cornford and of Felicia Browne, the first British volunteer killed in the war, with a couple of her sketches – and very good they are too. Banners of the British Battalion – 15th, was it? – with the battle names on it: Brunete, the Gandesa, Belchite, Teruel, the Ebro; lump in the throat time.

Felicia Browne

John Cornford and Ray Peters

Figures in a Landscape, Alexandropoulos

Two children, a girl of about twelve and her kid brother, run away from their Greek home to try to reach Germany, mostly by rail, sometimes by hitchhiking. The Travelling Players show up on the way, having wandered in from another film. There’s a scene in which they escape from a police station when it starts snowing – all the adults wander outside and freeze in a trance, looking up at the falling flakes. So whimsical, you think – then the girl is raped in the back of a lorry by the driver, thankfully not on screen. They press on and eventually arrive at the border; a shot sounds as they cross the river. They run through the thick mist to embrace a tree on a hilltop – symbol of the father? Are they dead? End.

Stroszek, Werner Herzog

The great Bruno S. again (from Kaspar Hauser). Three “vulnerable” Germans go to the USA to escape from their tormentors. I think it’s a comedy, but there’s some sickening brutality towards Eva, the prostitute, in the early part of the film. It must be seen, however, if only for the fastest auctioneer in the universe – he must be! – and for the dancing chicken and the fire truck rabbit. Also a beautiful electric guitar instrumental version of “The Last Thing on my Mind”, which accompanies the driving scenes. Don’t know who it is.

RB Kitaj

Got a cheapo catalogue of the above in the Pallant House, including two fantastic pictures; “The Rise of Fascism” and “the Architects” (see below).

Marlene Dumas

Visited this again and found that the red faced-woman wasn’t in it (see last blog) – I’d seen it somewhere else. Just as good – no, better – on second visit; look out for the Japanese Boy, the full-length portrait of Helena and the head of the dead young man, killed in the Chechnyan incident – or was it the Moscow theatre siege? Beautifully painted, anyway.

Sprout Gallery, Moyser Road, Tooting SW16

If you are in London next week, visit the Sprout Gallery and avail yourself of the opportunity to buy my paintings, and those of my partner, 11.00am – 6,00pm, any day but Monday. Not the one below, however; it’s still wet.